Megalyn Echikunwoke Quotes

If you watch a stretch of TV for a few hours, there is a good chance you'll hear me on some commercial or in some documentary or on a cartoon as some voice of a character.

I guess the biggest challenge to doing any kind of animation voice work is that you only have your voice to tell the story.

I would love to voice an animated penguin or platypus at some point.

In animation, there's silly things I get to do with my voice. I get to have a wider range, so my voice gets to dance more than it does on camera.

Voice acting is very different from live-action. You only have one tool to convey emotion. You can't sell a line with a look. It's all about your vocal instrument. Doing voice work is also great because you don't have to get your hair done, which I despise.

It's an absolute blast to be a voice actor, but also kinda scary that the vocal baby you just birthed out at a mic is then taken by other folks and becomes something else.

I do very little on-camera acting, so within a phrase as a voice actor you have to know how to convey when someone is 95 years old or 19 years old. . . When I was the lead singer of the California Raisins commercials there was a traditional actor there as well and he would do all these body movements without saying anything because he was "acting." And the only acting the microphone picked up on was silence.

I guess voice acting is just fun, interesting to say...but it is.

I seem to voice a lot of sweet, kind of dumb yellow characters for some reason.

The voice is always the starting place for me with a character.

Dubbing is an important part of acting, and I feel complete only when it's my voice that is heard. Having essayed the character, I know the kinds of emotions that are required for each scene.

I think it's that if you don't have the visual, you have to infuse the full personality into the voice. Think of Daffy Duck. I mean, what the heck? I was playing around with the Daffy Duck voice today when I was coming back from driving my kid to school.

There were two things that became apparent, pretty quickly into the process. One was that the muscles didn't take as much reconditioning as I thought they would. It was more like voice acting than I thought it would be. You're using your whole body and there are things that are different, but when you are doing a character, even in the booth, nobody is watching but my face will do different things when I do different characters.

The character of Brent Spiner. We certainly collaborate on the concept of that, but he basically writes the script, then it's sort of a combination of his voice and my voice.

I loved the Disney films, and Sterling Holloway was one of their chief talents. He never had to put on a voice, and that's what Mike [Mitchell] and I encourage. I love the voices that have a unique texture, but it's their real voice.

There's a bit of a difference in the way he sounds. Samuel E. Wright lent his voice and personality to the animated film with his booming voice. I have a high-tenor voice. Instead, I have to figure out a way to convince the audience to come along with me and accept this new texture and tambour to the way Sebastian sounds. I have a great dialect coach.

Voices come to me but to maintain them is hard work. They go away just as easily, so I have to remember them and that takes work. With Sid, I needed to make sure you could understand what he is saying, his enunciation. Sometimes I couldn't even say my own name [his name] in his voice. It sounds like 'Shid', it sounds a bit like he has a lisp.

What I enjoy most about doing voiceovers is that you can be completely unconscious with the rest of your body and just concentrate on doing something with your voice, creating an entire character with your voice.

I'm really comfortable doing voice-overs, but it's really fun to do animation.

If you're doing live-action, you have to learn how to actually do whatever it is that you're doing. If you're doing voice-over, you can fake it.

You have the script in front of you. It doesn't involve your body. It's all about your voice. And its fast work. Its also very lonely work. You are by yourself. Very rarely are you in a group. You act with yourself, and someone else mumbles the lines back at you. If at all.

I am voice actor Roger Craig Smith. You may know me as Batman, Captain America, Sonic the Hedgehog, Ezio from Assassin's Creed, Transformers: RID, or narrator of “Say Yes To the Dress” (among many other things). AMA!

It [voicing animation] is very freeing. Nobody in the cast is doing their voice. No one is talking like they normally talk and it's because, all of a sudden, you're freed from the physical limitations of how you look, which is amazing.

I had a very low voice for the character in the show. I said, "That's not actually my voice. That's the character's voice." I'm being such an actor.

I feel like a lot of times when you get signed to an agent they just send you everywhere, so I still audition for a lot for voiceover stuff. I actually don't book a lot of it, and I love doing it so I get disappointed because I want to do more voice stuff.